Sun, 21.10.2012, 19 – 20 hLecture/Presentation (in Engl.) – Adam BroombergAfter the presentation of the film "The Day that Nobody Died" (Video, 23'06", 2008, Adam Broomberg & Oliver Chanarin), – as a critical reflection on media as well as the machinery of Showing and Not-Showing – Adam Broombeg adresses in his lecture questions and possibilities of documentary, modes of witness and the limits of representation. Adam Broomberg is part of the London-based artist duo Adam Broomberg & Oliver Chanarin / www.broombergchanarin.com.

Sun, 21.10.2012, 20 hPanel discussion (in German): The Media Character of Photographic Images. With Viktoria Binschtok (artist, Berlin), Tatiana Lecomte (artist, Vienna), Armin Linke (artist, Berlin), Markus Schaden (publisher and author, Cologne). Moderator: Maren Lübbke-Tidow (critic and curator, Berlin/Graz).In the age of rapid digitalisation, issues of originals and counterfeits, authorship and copyright are increasingly urgent, as is the issue of free access to knowledge. At the same time, the new forms of presentation follow a very specific aesthetics, but rarely question its conditions. The implications of the permanent availability of images for our appropriation of the world, and the resulting possibilities and strategies for individuals’ work, will be examined from the perspectives of the theorist, the publisher and the artist.

Show Photography! is a cooperative project with Kunstsaele Berlin and takes place in collaboration with Camera Austria International (Graz/Berlin)

October, 20 – 21, 2012 A series of events organized by the 5th European Month of Photography BerlinLocation: Kunstsaele Berlin, Bülowstraße 90, Berlin

The Show Photography! event series with lectures, podium discussions, lecture performances and talks is devoted from 20 to 21 October 2012 to the phenomenon of showing and being shown photography.The point of departure is an examination of photography in relation to the medium of the exhibition. Artistic, editorial and design practices of showing, the significance of new technologies and the political dimension of contemporary image production will also be considered.

Sat, 20.10.2012, 19h – 20 h Learning in the Flood of Images: Photography Exhibitions of the 1950sLecture (in German) von Olivier Lugon / University of LausanneSince the nineteenth century, photo exhibitions have often been criticised for showing too many images and for overwhelming viewers with a flood of unrelated subjects. In the early 1950s, however, a number of exhibitions were designed expressly to subject visitors to a vortex of images. Visitors were to learn to recombine and reinterpret all kinds of photos in ever new ways: the photo exhibition became a training ground for modern seeing, to give people orientation in a world that was thought to be increasingly complex and mobile.

Sat, 20.10.2012, 20 h Panel discussion (in Engl.): The Politics of Showing. With Lara Baladi (artist, Cairo), Kaya Behkalam (artist, Cairo/Berlin), Florian Schneider (filmmaker and media activist, Berlin and Munich). Moderator: Florian Ebner (curator, Braunschweig).Whether and how photography can be understood as instrumentalised showing? Reality as we perceive it is always mediated, and photographs always pursue a representational strategy, even as documents of our visual reality. The discussion takes as its starting point the exhibition Cairo: Open City, which uses artistic means to examine the role played by images in the Egyptian revolution and reflects on processes of finding and distributing images in its sociopolitical context.

On the occasion of the last evening in the current season, we cordially invite you to the final session of the "museum of cruelty" and a successive party at Salon Populaire.

Based on Artaud's Theater of Cruelty, we discussed questions regarding the identity of the museum for the last two weeks. In the context of an exhibition-seminar, we analyzed the text "Artaud Moma" by Jacques Derrida and followed the traditions, customs and constraints of the medium of the exhibition and its agents, as well as the distribution of roles between the space, the artist, the artwork, the curator and the audience. In the last session, we will present the resultant manifesto of "A museum of cruelty" and discuss its theses evolving around a particular work of Artaud's together with the audience.

Over the course of the previous Salon Populaire sessions, Florian Wüst presented a series of six mises-en-scenes showing films and film excerpts that reflected the past and present of West Berlin as a tribute to the Salon’s physical location in the city. Film City Berlin now continues in a film club setting, each time presenting a seminal feature length Berlin film followed by an open conversation after the screening.

Andrzej Zulawski’s cult classic “Possession”, starring Isabelle Adjani and Sam Neill, is set against the background of the Berlin Wall as a symbol of a world in stagnation. The film combines family tragedy, thriller, and horror movie, and a cinematic tour-de-force through extreme emotional states of alienation. While Zulawski’s narrative successively slips from desire into obsession, from the real into the fantastic, his particular choice of locations represents tangible markers of Berlin’s urban history and various stages of city renewal.

If one sees the exhibition as a place where something is made physically tangible, then this allows the visitor in the ideal case to find a confrontation that goes beyond the artistic work and the curatorial position. How can the exhibiting in a space be seen as a translation of artistic into curatorial practices? Which opportunities and obstacles provides the display or the architectural intervention of an exhibition to support a curatorial position and to dampen or counteract it. Starting from the idea that any translation in addition to serving, functional implementations also develops a new setting and thus induces essential misunderstandings, distortions, inaccuracies and uncertainties, the realization in space often produces a new authorial position: How can the spatial translation extend a curatorial concept comparable to the impact of the curator who contextualizes the work of an artist?

"Turn on any electronic apparatus, and it looks imagistic, but its address is textual," says Hal Foster in an interview in the current issue of frieze d/e. On the internet, words and images hybridize – names become Facebook tags, the meme has replaced mimesis, and experience is Instagrammed into the ether.

But what happens to art when digitized word-images are circulated – and what happens to English? Language used to be a marker of a territory, including colonial power. Now digital circulation has both deterritorialized language and made images like words. How does this shift impact artists, curators and critics?

Regardless of where, how or what is being exhibited, the curator is always also exhibiting him or herself, specifically in the way they decide to convey the idea of what an exhibition could or should be. Aside from the curator’s self-perception in relation to his or her topic, the context in which they work also plays an important role, as does the general museum context they necessarily work in relation to, including different institutions, artists, exhibited objects, donors, and viewers. Who serves whom, and who exploits whom? Or is the main concern of the curator to find an independent “third space”, that can be free from all these constraints? If so - who or what is being served in this space?

Using feminist theory as its point of departure, this event aims to define and redefine power in collaboration with all participants and attendees. Join us for an evening of mini-presentations exploring personal definitions of power. At the end of the evening help answer the question, “Who wants it?”

A new series by THE OFFICE (Katharina Fichtner) accompanying our celebrated publications

For this lecture performance and the magazine the artist Gert Jan Kocken, who currently holds a residency at the Rijksakademie, will uncover the processes of research that precede his actual artistic work of large scale photography. Based on a collection of thousands of images sourced from the internet, Gert Jan illustrates religion’s problematic relationship with images. Meandering through time, somewhere between iconoclasm and iconophilism, he will present his manifold findings, and demonstrate how images have been deployed to tell the story of the world, from its creation to the present day.

With the magazine THE WORLD ACCORDING TO The Office wants to provide an open space in which an artist can discover different ways of examining the world that surrounds him/her. Using sources other than his/her own work, s/he is invited to develop new content and unexpected formats by collecting images, texts, graphics, and/or by inviting artists, friends, family members to contribute.

Now available:The World According to Gert Jan Kocken, ed. by THE OFFICE, published by argobooks, 64 pages, 15 Euro

The work is the permanent luminous form of itself. But what happens to the world that produced it? Can we talk of the living world (Lebenswelt) of which the pictorial work is an outcome? The experience of the artist as the trace of thought makes the work a sign of his or her action. Whether or not he is aware of this legacy, the artist becomes dispersed in the painting and in its phenomenological cognitive experience, which – as possibly in no other discipline – becomes a fundamental experience.

How closely do you identify with the character you play in facebook?– anonymous status update, social networking site.

Based on a collective viewing of a selection of young American artist Guthrie Lonergan’s growing youtube collection of peoples’ introductions to their Myspace pages, Salon Populaire hosts participants in NYLON, Craig Calhoun and Richard Sennett’s research group of social scientists and cultural producers to act as priviledged respondents and to discuss their remarks with the audience.

The internet holds a vast archive of representations of self. From facebook pages to Craigslist solicitations, youtube spots about what “people say”, to Tumblrs, to videos of our cats– the online project that people seem to have been most consistently committed to, and most creative in pursing, is testifying about ourselves.The modes and rhetorics of self presentation change quickly on the internet; how quickly we become nostalgic for the AOL profile or even the mySpace page, through which we once “got to know” our perfect strangers, our friends and ourselves. And how quickly we learn orient ourselves to new ones.From one perspective these artifacts that people produce are visual expressions, petit artworks. From another they are data. What are we to make of the internet’s vast and deepening archive of self-produced representations? What can we do with them? What are they trying to tell us?

NYLON was created in 2001 by Craig Calhoun and Richard Sennett of New York University and the London School of Economics and currently holds its 10th annual graduate student conference in Berlin. It began as a network of young scholars within the two institutions and collaboration between them. Today, NYLON has expanded beyond its original boundaries; it now includes members from Cambridge and Oxford in the U.K.; from Chicago and Los Angeles in the U.S.; and on the Continent from Paris, Budapest and Frankfurt. NYLON researchers share a broad interest in culture and qualitative research methods; more, with ways that social processes turn into concrete cultural forms through practical activity. They are thus exploring informal, improvised social practices, as well as the bones of institutions; again, they try to integrate cultural analysis with an understanding of politics and political economy.NYLON is supported by New York University, London School of Economics, Cambridge University, Goldsmiths College-London and the Watermill Center for the Arts and Humanities.

Our upcoming fourth issue marks the first full year of our dual-language quarterly.

To celebrate the release of our spring issue, we’re hosting a launch event at the Salon Populaire at 7pm on March 10.

In keeping with the magazine’s bilingual nature, we’ll be asking questions about the nature of ‘Globish’, or global English: how does the predominance of the English language affect art, writing and culture?

Please join us in hearing Karl Holmqvist and Jan Verwoert, Alix Rule, and Vincenzo Latronico read, perform, and give their thoughts on this theme.

This launch is the first in a series of talks on the theme of language, artistic production, and criticism that we will be hosting during the month of March. More details to follow.

This event is free and open to the public, so please do bring your friends.

A series of talks on labor and/or transcendence organized by Ana Teixeira Pinto.

The attention span of an average adult is 20 minutes, we do not intend to cross your threshold. Revolving around the theme of "labour and transcendence", in a format inspired by Pecha-Cucha evenings, each speaker will present his/her topic of choice within 15 minutes.

Museum and Exhibiton are two different manners of presentation that converged only recently, at the beginning of the 20th century. The terms are often used synonymously and do not receive the differentiation they deserve, despite their separate backgrounds and trajectories of influence, which are still effectual today. My concern is to have a closer look into these two terms and connect the different forms of museum and exhibition in art, science and history.

-A dialogue between Sonia Arribas and Howard Rouse. Organized in Cooperation with Subjektile (Felix Ensslin, Marcus Coelen); Published by Diaphanes.

Gesturing towards the insuperability of Marx, Lacan famously defined his objet a as homologous to the object of labour in capitalism. But what capitalism carries out on this object – through the implacable force of the fetish, of course – is the dilution of a permanent disavowal. A limitless love, by contrast, requires nothing less, Lacan tells us, than the renunciation of its object. From which one can deduce a certain discrepancy between capitalism and love. A discrepancy that opens up room for a discussion, not only of Marxism and psychoanalysis, but also of the conditions of art, literature and life. A discussion to which all are invited to contribute.

Société Réaliste will Give a Talk on Invent / Invest within the Frame of the BEHAVING DIFFERENTLY! lecture series organized by Interflugs.

Société Réaliste is a Parisian cooperative created by Ferenc Gróf and Jean-Baptiste Naudy in June 2004. They work in multiple forms with political design, experimental economy, territorial ergonomy and social engineering consulting. Their projects can take the shape of exhibitions, publications or conferences. In relation to the “Behaving Differently!” lecture series focus on art economies, they will present connection points between projects dealing with the issue, such as “Cabinet Société Réaliste Conseil”, a legislative consulting firm whose mission is to help create and sustain competitive legislation (ongoing), the “Artleaks” collaborative platform for the labor rights of cultural workers (2011), the collective critical exhibition “Artist Pension Trust” (2011), or their Art Scheme Corporation “Ponzi’s” (2006). They will as well present their most recent work about the structural commonality of ideology in architecture and discourse, as developped in 2011 with the series of exhibitions “Empire, State, Building” (Jeu de Paume, Paris), “The city amidst the buildings” (Akbank Sanat, Istanbul) and “Archiscriptons” (Mosseri-Marlio Gallery, Zurich).

www.societerealiste.net www.aptglobal.org http://art-leaks.org

BEHAVING DIFFERENTLY! is a lecture series on models of resistant economies in art and cultural work. “The State (…) is a condition, a certain relationship between human beings, a mode of human behavior; we destroy it by contracting other relationships, by behaving differently.” Gustav Landauer Organised by Interflugs, the autonomous students organisation at the UdK Berlin.

From P.T. Barnum’s “Happy Family” to the Zoo at Buchenwald concentration camp, Ulrich Gebert investigates how animals were put into service for various human ideologies and how the animal functions as a projection screen. Followed by a film screening of Werner Herzog’s “Grizzly Man”.

Ulrich Gebert is an artist based in Munich. His show “A Breed Apart” is currently on at Klemm’s Gallery, Berlin.